Oboe Solo and Chamber Music Repertoire

MUP 451/551

Martin Schuring

E-443

480/965-3439

Class meeting Friday 3:05—5:00 (Music Building, Room W-130)

I will teach the first class. I will also teach the “England” class, and the two classes devoted to etude materials. Otherwise, students will present according the schedule below. Each presentation should include the following:

· A biographical description of each composer. In some cases, this will be very well known (i.e. Mozart) and can be brief. In others, it is essential to the repertoire being discussed (i.e. Pasculli) and should be more thorough. Use your best judgment. Consult with me if not sure.

· A summary of the composer’s oboe compositions including solo, solo with piano, solo with orchestra, and any important chamber works. Describe whether these works are an important part of the composer’s output, whether they are typical or atypical of his style, and their importance to our repertoire.

· A description of the works. Take into account texture, form, duration, number of movements, etc. Talk about any specific oboe difficulties—technical, musical, stamina, etc. Relate the difficulty of the particular piece to the capabilities of the oboe at the time. Some pieces should be included because they are useful as teaching pieces, or study material. Be sure to discuss what level of player would find the piece(s) to be most beneficial and rewarding.

· Support your presentation with carefully selected recordings. I have recordings of almost everything, in many cases multiple recordings, and in many cases recordings of my own performances. Discuss with me what you think you would like to use, and I will provide it. Let’s try to avoid using library recordings—too many of these are poor quality. Half or more of your presentation can be devoted to listening depending on the familiarity of the work(s) being discussed. It may not be necessary to play recordings of the most familiar pieces. If anyone has a truly interesting recording of a work, please make it available for the class. One of the desired outcomes of this class is an increased familiarity with oboe players and styles of oboe playing.

Each student should plan a presentation about 90 minutes in length including a good quantity of music. Include a short break in the middle of your talk.

Assignment 1 (due January 29)

Make a listing of every piece you have studied. Include etudes as well as chamber music pieces up to five players. Do not include orchestral material. Organize it in three ways: an alphabetic listing by the composer’s last name, a listing sorted by genre (oboe with piano, oboe alone, concertos, etc.), and a listing sorted by time period (baroque, classical, etc.). Indicate which pieces have been publicly performed. You will expand this list as the class progresses to generate a new list of standard and interesting pieces you have not yet studied.

Assignment 2 (due March 26)

Part one: Consult in detail one of the bibliographic resources listed below. Evaluate its content: How complete is it? Is the organization clear and easy to follow? For whom would this material be most useful? What shortcomings would you like to correct? Part two: Consult and evaluate one other bibliographic resource (not chosen from the list below)—this could be a web page, another book held in the ASU library, a graduate thesis or dissertation, or an online research database. Total assignment: 3-5 pages, double-spaced, 10-12 point font.

Assignment 3 (due April 30)

From the listening we have done during class, choose three artists whose playing particularly attracted you. Research these in detail and write a 3-5 page paper including their biographical information, career information, influences upon them, and students they influenced. Include a discography (as complete as you can make it) of other recordings they have made.

January 22, 2010 – Martin

Introduction, use of resources, format of class. Classification systems.

Haynes, Bruce. Music for Oboe 1650-1800. ML128.O2 H55 1992

Rothwell, Evelyn. Oboe Technique. MT360 .R8 1962.

McMullen, William. Soloistic English horn literature from 1736-1984. ML128.O2 M3 1994.

Gifford, Virginia Snodgrass. Music for oboe, oboe d'amore, and English horn: a bibliography of materials at the Library of Congress. ML128 .O2 G5 1983.

Hosek, Miroslav. Oboen-Bibliographie. ML128 .O2 H7 v.1.

TrevCo Music – http://www.trevcomusic.com

Caldini English horn listing – http://idrs2.colorado.edu/caldini/caldini.html

January 29 – Martin

Telemann, Bach.

February 5 – Whitney

Vivaldi, Albinoni, other Italian (Marcello, Rothwell arrangements, etc.)

February 12 – Erin Goad

Handel, other baroque (Couperin, etc.), Zelenka

February 19 – Laura

CPE Bach, other early classical (Stamitz, WF Bach, etc.)

Mozart

February 26 – Taylor

Beethoven, “Haydn”

Other classical (Krommer, Reicha, Danzi, etc.) thru Schumann

March 5 – Megan

Later 19^th century (Pasculli, Conservatoire pieces, etc.)

March 12 – Erin Lovan

English horn, oboe d’amore, and bass oboe repertoire.

March 19

Spring Break – no class

March 26 – Martin

20^th century – England

April 2 – Tiffany

20^th century – France

April 9 – Melissa

North America (will be mostly US, 1950+)

April 16 – Emily

1900+, rest of world: Germany (Strauss, Hindemith), Japan, Italy, Holliger-inspired pieces, Latin America, Russia, etc.

April 23 – Martin

Etudes I (beginner thru intermediate)

April 30 – Martin

Etudes II (intermediate thru advanced)

May 7 No class. Final exam will be made available as a take-home test. It will be due back to me before 9 am Monday, May 10.

Grades will be based 25% on the assignments, 25% on the exam and 50% on your presentation. Each presentation will receive a grade based on quality of research and fluidity of presentation. Office hours as needed by appointment.